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Time of India
3 days ago
- Entertainment
- Time of India
Indian Historiography: New Approach to Literary History
Excerpts from the interview: Q. What was the genesis of the Sahitya Akademi-edited anthology Indian Literary Historiography ? Could you tell us more about it? A. This book began a few years ago as a conference organised by the Sahitya Akademi. Tired of too many ads? go ad free now Not many people—perhaps no one—has addressed Indian literary historiography at book length. Historiography isn't widely understood or practised in India, and many may wonder what it actually is. Simply put, it is a history of histories. At a more nuanced level, it's the study of the methodologies used in writing histories. I found the subject fascinating, and I was in a position to persuade the Sahitya Akademi to organise a pan-Indian conference, with participation from many languages. This book is the outcome of that conference. I also tried to include languages not represented at the event, and so on. The subject interested me partly because I've been involved in writing a history of Indian literature myself—one that follows a somewhat different approach to most. In India, the pattern established by the Sahitya Akademi has been to give equal space to all recognised languages—14 at the time of the Constitution's adoption, then 18, and now 22. The Akademi, in fact, recognises 24. So when they organise a conference or commission a volume, they expect most of these languages to be represented in separate chapters by subject experts. This model has been widely adopted and is now expected not just from the Sahitya Akademi but from other publishing institutions as well. That's the approach I've followed here. Q. It is interesting to encounter these essays, as this area does not appear to have been explored with such a strong empirical focus before. Tired of too many ads? go ad free now Would this anthology be considered an important starting point in that direction? A. Yes, but also very enjoyable. One point worth making at the outset is that during British colonisation, many officials and scholars believed that Indians lacked a sense of history—be it political or literary. This notion began with John Stuart Mill, who wrote about this supposed deficiency. Later, Lord Macaulay claimed Indian history was unreliable, citing examples from the Puranas , such as kings ruling for 27,000 years and mythic elements like oceans of milk—concluding that such accounts were implausible. This view persisted for over a century. Even as late as 1900, the British Sanskrit scholar A.A. Macdonell remarked that Indians did not write history because they never made any—an insult and injury wrapped into one sentence, appearing in his lengthy history of Sanskrit literature. Yet even his work acknowledges the vast literary output in Sanskrit, which contradicts his own claim. These are colonial slanders, reflecting a sense of superiority. But the larger question remains: how do history and literature relate? Traditional historians have long insisted that history must be grounded in strict documentation—records, evidence, material data. Under such a lens, much of Indian tradition is excluded. These historians have often refused to treat literature as valid historical evidence. Happily, some of these once-dominant voices have begun to acknowledge that there can be more than one kind of history. , a widely respected historian, now distinguishes between 'embodied' history—clearly written as history—and 'embedded' history—where historical content is hidden within literature. Texts such as plays, epics, even the Puranas, may not look like history but can yield rich historical insight depending on how they are read. Indian bilingual scholars like Vasudev Sharan Agarwal and Hazari Prasad Dwivedi also made important contributions. Agarwal, for example, drew on literary works like Kalidasa's Meghaduta to construct a picture of India in Kalidasa's time—not from a historical chronicle, but from a highly literary text. It depends on how one approaches the material. Reading for poetic ornamentation yields aesthetic pleasure, but reading from a different angle can also reveal historical depth. Western scholars—and some heavily Westernised Indian historians—took a long time to recognise this. But history is now seen as a broader, more complex field. Over the past few decades, it has also lost its exclusive claim to 'truth.' The postmodern critique has blurred the boundary between history and literature. We now understand that no single version of history can claim absolute truth. Competing narratives arise based on perspective, interpretation, and motive. History is a narrative, and so is literature. That puts them on equal footing—and makes for a very exciting intellectual playing field. Q. As literature and history converge, how might this reshape our understanding of Indian literature? Does it point to a redefinition, a new canon, or simply a fresh lens on existing texts? A. Yes, the book offers a history of the histories of literature in various Indian languages. One innovation I introduced, departing from the usual Sahitya Akademi model, was to abandon the English alphabetical order typically used in such collections—where Assamese comes first, and Urdu last. Instead, since this is a book on historiography, I arranged the languages chronologically, beginning with the oldest. Of course, determining which language is 'oldest' is not straightforward—it's a politically charged question. Is Sanskrit older than Tamil ? Is Urdu older than Hindi? Are Marathi and Gujarati contemporaneous? Still, I felt it was worth attempting a chronology based on historical evidence, which seemed more meaningful than alphabetical or script-based orders, such as the Devanagari order, which can also distort the narrative. These inherited structures—alphabetical or otherwise—are constructed paradigms that go unquestioned. I wanted to disrupt that a bit. While the model helped hold the nation together in the early years of its existence, it has drawbacks. In these collections, each language is treated in isolation, as though they developed independently. But Indian languages have a long history of interaction, influence, and exchange. The siloed structure fails to capture that interconnectivity. I couldn't change the model, but I could take a different approach. After years of working with those volumes, I was given the opportunity to write the South Asia section of the History of World Literature (in four volumes). There, I broke from the language-by-language format, which, though tidy, doesn't integrate. True integration would involve showing how languages flowed together across time, linked by chronology, genre evolution, and innovation. For instance, a literary innovation may arise in Urdu today and appear in Malayalam tomorrow—either through influence or independently. As Shishir Kumar Das noted, such patterns can reflect either prophane (early) or epiphane (later) appearances of similar phenomena across languages. This flowing model seemed a better way to capture the complexity of Indian literary history. Yes, the risks are real—we've grown used to seeing 15–20 pages per language, each in its own chapter, disconnected from the rest. As my friend Sujit Mukherjee said, such books are held together only by the binder's glue; they lack a unifying vision. So I chose to write a literary history where all languages flow together. And if some readers count pages to compare Bengali with Tamil or Hindi with Kannada, so be it—I didn't count. I followed the narrative and thematic criteria I set out, not quotas. Q. Having lived with this project for so long, what were the absolutely astonishing discoveries that you made? A. Yeah, I'll come to that in a moment. But first, let me clarify one thing. The vision I just described isn't in this book—it's in The History of World Literature in four volumes. The history I wrote there, of South Asian literature, is something I'm trying to publish in India. Now, about this book—yes, the discoveries and excitements are enormous. I believe in engaging with contributors, reading drafts, offering feedback. Many are old friends—some of the country's best scholars. It's been a rich exchange of ideas. Some rewrote pieces several times, others cut them down. Let me highlight a few cases. In Sanskrit, early histories of Indian literature were written mostly by Westerners. In Hindi, it was Grierson; in other languages too, a Western scholar often compiled the first grammar, dictionary, and history—often before fully mastering the language. In Sanskrit's case, from the Rigveda (1500–1200 BCE) to Jayadeva's Gita Govinda (~1200 CE), the language held cultural dominance. When Western scholars encountered this, they were taken aback. William Jones , who translated Shakuntalam in 1789, called Kalidasa the 'Shakespeare of India,' but also wondered why the play had seven acts and so much eroticism—things he didn't associate with drama. This attitude led to the artificial categorisation of kavya versus sahitya, a division Indians themselves never made. In Tamil, there's a long-standing competitive coexistence with Sanskrit. In Hindi, the late Avadhesh Kumar Singh listed 46 different literary histories. In Urdu, early histories were limited in scope—initially omitting non-Muslims and women, for instance. Each language has its own internal exclusions and silences, but some issues—like inclusion—cut across them all. That's the real excitement of this volume. In my concluding chapter, I review 21st-century histories of Indian literature—five or six of them—and explain how I came to conceptualise a literary history that doesn't go language by language, but follows a chronological flow, highlighting innovation wherever it occurred. There is an inherent imbalance in our linguistic landscape—Hindi is spoken by five times as many people as the next major language. I wish all languages were equally represented, but that's not how things are. We must work with what we have and compensate accordingly, striving for a spirit of inclusiveness—though it will always be seen differently by different people. That's part of the debate, and the fun. Yes, it's been exciting to work on this volume since the 2016 conference. But I must stress again: the other project—in which I imagined myself (pardon the vain conceit) riding a chariot pulled by 24 horses, each one a language—is a different model. I lived with that for 18 years, from 2004 to 2022, as part of a Stockholm-based collegium. I've followed both models in my writing—one in Indian Literary Historiography, the other in the global history project. It goes beyond what most literary discussions do. Most are either criticism or reviews of a single text. Few explore long historical perspectives across multiple languages in one book.
The Hindu
20-05-2025
- Entertainment
- The Hindu
State Professional Drama Festival to begin on May 26
The Kerala Sangeetha Nataka Akademi will host the State Professional Drama Festival at the K.T. Muhammed Theatre in Thrissur from May 26 to 30 . The festival will feature a vibrant line-up of plays. Film director Kamal will inaugurate the festival on May 26 at 9.30 a.m. Akademi Chairman Mattannur Sankarankutty will preside over the function. Executive Committee member Saheer Ali will deliver a keynote address, while Akademi Secretary Karivellur Murali and programme officer V.K. Anilkumar will also participate. Mithaitheruvu by Rangabhasha, Kozhikode, will the first play that will be staged at 10.30 a.m. on May 26. Other plays to be staged are Uthamante Sankeerthanam by Chandrakantha, Alappuzha; Vanitha Mess by Deva Communications, Kayamkulam; Report No. 79 by Sahrudayanandini Natana Sabha, Thiruvananthapuram; Vazhvemayam by Brahma, Valluvanad; Yathra by Gandhibhavan Theatre, Pathanapuram; Lakshmanarekha by Sanghakeli, Thiruvananthapuram; Muchheettukalikkarante Makal by Sahithi Theatres, Thiruvananthapuram; Dracula by Aniyara, Changanassery, and Ummaachu by the KPAC Entry to all performances is free. However, spectators will only be allowed into the theatre 30 minutes before the start of each play, according to the Akademi Secretary.
The Hindu
26-04-2025
- Politics
- The Hindu
Sahitya Akademi condoles demise of historian MGS Narayanan
The Kerala Sahitya Akademi, in a statement here on Saturday, condoled the demise of historian, scholar and teacher MGS Narayanan 'The demise of Prof. Narayanan is deeply saddening. He carved a unique path in historical research and profoundly transformed the study of ancient Kerala history through his distinctive approach. Unafraid of criticism, he remained steadfast in his views, both in academic circles and in socio-political discourse, earning admiration for his principled and courageous stance,' said Akademi president K. Satchidanandan and secretary C.P. Aboobacker. Over 200 books Prof. Narayanan served as both the member secretary and chairperson of the Indian Council of Historical Research (ICHR). He authored over 200 books and scholarly articles. His strong command over Malayalam, English, Tamil, and Sanskrit as well as fluency in Brahmi, Vattezhuthu, Grantha scripts and in epigraphy were a great advantage for Kerala's historical research. As a visiting professor in several prestigious universities and academic institutions within India and abroad, he elevated Kerala's intellectual landscape to an international level. His autobiography Jaalakangal – Oru Charithranveshiyude Vazhikal Kaazhchakal (Windows – The Paths and Views of a Historian) received the Kerala Sahitya Akademi Award in 2019. Prof. Narayanan's passing marks the loss of a powerful presence in the realm of historical research in Kerala as well as a meaningful voice in its socio-cultural landscape. His invaluable contributions will be remembered forever. The Kerala Sahitya Akademi expresses its heartfelt condolences on his demise, the statement added.
Time of India
22-04-2025
- Entertainment
- Time of India
Legendary dancer Mansingh to receive Sankardeva award
Guwahati: World renowned exponent of both, Bharatanatyam and Odissi , and a Padma Vibhushan awardee, Sonal Mansingh , will be conferred with the prestigious Srimanta Sankardeva Award for 2023 on Friday. Tired of too many ads? go ad free now Last year, on August 21, the state cabinet had decided to honour the legendary dancer with the award. President Droupadi Murmu will present the award in Guwahati. Speaking to TOI over phone, Mansingh said she experienced a mixed reaction, when her name was announced a few months ago. "It was absolutely wonderful as well as shock and happiness. It was everything put together and then it took this long to get a convenient gift from the President. But finally, when the date is announced, I'll be in Guwahati to receive this. Once again, I am in a great state of happiness and great gratitude," she said, while expressing her gratitude to Maa Kamakhya and CM Himanta Biswa Sarma. Reminiscing about her journey since the age of seven, Mansingh said her dance took her to 90 countries across the globe. "People have heard about musicians like Pandit Ravi Shankar and others taking music all over the globe. But nobody spoke about dance. After my dance took me to a global audience, I saw that it was also a binding force. I have personally experienced how dance can bring people together; give them bliss, a sense of happiness and inner peace. And that's where there is no religion, language, caste or creed. Nothing matters. So my journey continues," Mansingh said. Terming her dance, at an altitude of 21,778 feet, in front of the southern side of Mt. Tired of too many ads? go ad free now Kailash at the age of 62 a 'divine experience', Mansingh said she was put under training since the age of four by her parents, before she started learning Bharatanatyam at the age of seven. Talking about the 'Sattriya' dance of Assam, Mansingh said it was in 2000, when she was asked by music maestro Bhupen Hazarika, who was then the chairman of the Sangeet Natak Akademi, to visit Assam. "After my visit, I said Sattriya can be done, but the dance form will have to expand more. So, I am very proud that I could contribute to Sattriya dance ," she said. While Mansingh was the govt nominee at the Akademi, Sattriya dance got the classical status in 2000.
Time of India
22-04-2025
- Entertainment
- Time of India
Sanskrit scholar from Ganjam wins Sahitya Akademi award
1 2 Berhampur: Somanath Dash , a 48-year-old Sanskrit scholar from Nalabanta near Aska in Ganjam district, has been awarded the 2024 Sahitya Akademi Award for translation. The award was in recognition of his Sanskrit translation of acclaimed Odia novel 'Lalitalabangalata', originally written by Braja Mohan Mohanty . Dash, an associate professor in the department of research and publication at the National Sanskrit University, Tirupati, received the confirmation letter from the Akademi on Monday. "I am very happy as the award is a recognition of my hard work," said Dash. 'Lalitalabangalata' chronicles the life of renowned Sanskrit poet Jayadev, whose masterpiece 'Gita Govinda' is considered to be dedicated to Lord Jagannath. The award carries a cash prize of Rs 50,000 and a copper plaque, and will be presented during a special function whose date is yet to be announced. A prolific author, Dash has penned several Sanskrit works including 'Srikhetre Jagannath', 'Vamsivinodah' and 'Corona-Dhanam'. His latest work, 'Narendraroharam', comprises 1,200 verses across 12 chapters, documenting Prime Minister Narendra Modi's journey since childhood. The work, which includes English and Hindi translations, took four years to complete.
